A few examples: 2001: A Space Odyssey, Fantastic Voyage, Moon, much of Twilight Zone and Outer Limits, Prospect, etc.
And for that matter there is plenty of SciFi in print as well, and it isn't all novelizations of movies and TV shows.
There is certainly more room for exposition in a novel (a fact which plenty of authors have abused over the decades, and plenty of directors have abdicated responsibility for by tacking on lengthy voiceover or on-screen text introductions), which often allows for more complete worldbuilding to explore whatever contrafactual premise the story is built around, but it is possible on-screen as well, as long as you don't rely solely on the dialog to convey it. For that matter, books shouldn't rely solely on the dialog for that purpose either.
Of course, on-screen dramatic works aren't the only ones that face the problem of conveying a setting in few words. Novellas, novelettes, and short stories have similar constraints to various degrees.
For me the distinction is in the nature of speculation. If you speculate about some facet, and it seems feasible but fantastic, this is the event horizon at which the subject becomes useful as well as entertaining. It was no doubt of great utility to the original developers of satellites to have had Arthur C. Clarkes' models in their minds.
However, its hardly viable to speculate about regular use of teleportation or faster than light travel .. unless, of course, we end up getting these things because some kid read a story and decided it could be done, in spite of the rest of the worlds feeling about it ..